The fashion icon Edward Enninful discusses Modern Britain: 'A Decline in Tolerance' Than We Were Decades Ago.

A serendipitous meeting during a tube journey in 1988 changed forever the trajectory of a teenage Ghanaian immigrant to Britain. Discovered for modeling, Edward Enninful was quickly drawn into the capital's vibrant 1990s creative scene, evolving from mannequin to stylist and, by the age of 18, becoming the fashion director of the iconic i-D.

"That time was the height of the Young British Artists – Tracey Emin, Jay Jopling. I met Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday bled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is not the only one. In recent times, a longing look back of the 1990s has grown intense. However in the intervening decades, Enninful perceives a profound shift. "In my view, we’re less accepting now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Perceived Regression

This change is hard to ignore: the growth of nationalist groups, the pushback against progressive values, and the reassertion of traditional beauty standards. Replacing the hope of the previous decade, now a different political personality appears as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has become contentious again.

According to Enninful, the antidote has long been to celebrate culture in all its diversity. This was the core philosophy behind his landmark issue as editor of British Vogue in 2017, which served as a celebration of modern Britain, including a diverse array of prominent faces from politics.

"People with a voice should use it," he says, referring to those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain were not a welcoming country, if it hadn't given my family a home and an opportunity. That’s the Britain I always loved. I believe this period will end."

Hope in the Next Generation

He finds hope in the youth of today: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

The beginnings of his career would shape a groundbreaking career built on boldness and representation. Enninful made history as the first man, first black man, first gay man, and first disabled gay man of colour to assume the editorship at British Vogue. His time featured landmark covers showcasing Black models, curvy models, older individuals, and people from varied communities. Significantly, sales increased.

"To overlook vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has recently launched his creative company EE72 and its flagship publication, 72, his key endeavour since moving on from his previous role. He states his aim to continue being a "innovator".

"I constantly interrogate the status quo. I was raised in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we came to England, without funds, and I was a minority. I was very shy. My teachers declared I’d achieve nothing. Me and my brothers were harassed under the suspicion laws … this duality gave me a unique perspective both an insider and outsider."

Defying the caricature of industry figures as brash and highly strung, Enninful is calm and radiates serenity. His path has involved hardship, including openly discussed struggles with mental health and substance use.

He has also undergone serious health challenges, having had multiple operations on his eyes, leading to partial sight. "I experienced such a dark place for two years, away from work, terrified I was going to go blind. It’s comparable to PTSD; you just exist in a state of dread 24/7. I prayed, if this ever is over, I’m just going to embrace every opportunity that I was so fearful to do. I’m not going to confine myself to just being an editor or a fashion person."

A Foray into Curation

This determination to be defined narrowly has led him outside the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, bringing together work by a roster of pivotal artists and photographers from the era. The show, he says, aims to capture the decade's creative cross-pollination – and give platform to those who did not receive a spotlight at the time.

"Galleries sometimes neglected to celebrate the right artists because they did not have the right pedigree," he observes.

This project itself operates on a different business model, eschewing traditional advertising in favour of partnership-based projects. "Our approach is, what can we achieve in partnership? Is it an experience, a series? The magazine is part of a larger creative platform."

A Testament to Resilience

Now, Enninful stands as one of the world's most respected cultural influencers. His journey, he states, is a demonstration to the power of defying expectations.

How would the younger Edward react to the man he has become? He smiles. "He would be astonished, but he’d be pleased. Back then I was a rebel. I never imagined institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We lost our home, we fled our country. I nearly lost my vision. So there is no room for fear. People have doubted me my whole career. But no obstacle is too great once I’ve made up my mind to do something."